The Guardian from London, Greater London, England • 5

THE GUARDIAN Thursday July 13 1967 5 TELEVISION by Stanley Reynolds BSE Prince of petomane by Peter Lermon. JtiVph Pu'in! writers of lie mother tongue At another level, it is perhaps moie satisfactory see a woman's new of life, or at least the O'Brien mancipation Proclamation, dilfused through arl rather than lalionously delivered bv a muhvifely inteiviewcr Anywaj, the play, Which Of These Two Ladies Is lie Married To was very enjoyable. Miss O'Brien, especially in the character of Claire (Glenda Jackson), managed to create within a half-hour a play of charactei rather than just incident. And she also managed to unteilock two explosive situations in a space where other half-hour playwrights often baicl manage one These aie the skills of the good television writer and Miss O'Buen not only mastered them but also brought to her play those two outstanding attribute'; of the female novelist, a good ear for dialogue and a line cje for detail. Stella Ricbmaii, the producer of this 'scries, has already brought us a Dons Lessing play and one would like to see her encouiage some of Britain's more reticent literary ladies.

rpELEVISION seems lo be a liltle slow in A taking advantage ol the literary talent in Britain today. True, one sees a lot of literary personalities, heroes, heroines, characters, and even corpses on television panels, interview programmes, and in adaptations, but when it comes to actually creating anything for television, the medium has a way ot falling back on its own. The theatre, for example, is always calling in some outsider like Donovan to write music for As You Like It," or Marianne Faithful to act in Chekhov, and newspapers and magazines are always asking artists to try their hand at journalism: witness the Guardian's piecemeal printing of ,1. P. Donleavy back in the fifties or its current run of articles bv playwright Peler Terson.

Miss Edna O'Brien, whom we last saw on television as a guest on the Eamonn Andrews Show, was on television last night in a far more sympathetic role, writing a "Half Hour Story" for Hediffusion. It is a good thing for television to take advantage of one of the brightest of the female medical examinations which are described in La Semaine Medical of 1892 by a Dr Marcel Baudouin with a zest and enthusiasm for detail which unfortunately cannot be reproduced here Pujol finally broke with the Moulin Ilouge and opened his own theatre, the Pompadour. Then in 1898, the year Pierre and Marie Curie discovered radium, Pujol discovered that the Moulin Rouge were going to present a rival female petomanie. He brought an action for unauthorised imitation. Lawyers had to attend the theatre and note the range, quality and form of the lady's performance.

But before the case actually came to court the lady was exposed as a fraud (she had whistles hidden in her skirts). Pujol, who lived to be 88, was an outstanding example of man's ingenuity in making the best of whatever gifts nature bestows be they ever so curious. With extraordinary courage, and by the sheer quality of his performance, he imposed the fart on a stupefied but defenceless Europe. He was a star until 1914 when the countries of Europe decided to get together on a roaring orgy of petomania of their own which was no doubt distasteful to this gentle and scrupulous performer. (By the way, he claims never to have suffered from stagef right).

How has his name come to light again Simply because his family of honest bakers and masons in Marseilles were pained that their famous ancestor had become so neglected. Around July 14 (last year) they had the idea of appealing to a pair of well-known journalists on the ORTF pointing out the injustice that France has done nothing for the memory of its Petomane Now justice has been done. But, alas, given the standards of our time the tribute could neither be aural nor visual. Peter Lennon first time on a public stage in Mir-seilles. His talent had already been the envy of his schoolmates, the admiration of his regiment, and evoked the solicitous respect of his family.

Within a week Marseilles was crowding to see the Petomane. For the next twenty years, in Marseilles, Pans, Brussels, North Africa, all over Europe Pujol presented an unchanging ritual Dressed in a red coat and black satin knickerbockers, he would approach the ramp and announce gravely Mesdames, Mesdemoiselles, Messieurs, I have the honour to present to you a performance of petomania. He would then stoop and begin his finely graded, escalating performance. In his history of the "Caf'conc Jacques Charles describes the scene at the Moulin Rouge. At first the audience would remain astounded.

Then someone would be stricken with a crazy laugh. In a moment people would be howling and staggering with laughter. Some would stand paralysed, tears pourmg down their cheeks, while others beat their heads and fell on the floor. Ladies would begin to suffocate in their tight corsets, and for this reason there were always a number of white-coated nurses in attendance MLLE YVETTE GUILBERT wrote: "It was at the Moulin Rouge that I heard the longest spasms of laughter, the most hysterical cries of hilarity that I have ever heard in my life." The King of the Belgians travelled incognito to Paris for a private demonstration by M. Pujol.

But it was not only an audience in search of a beily laugh who flocked to see Pujol the Academy of Medicine in Paris was, so to speak, hot on his tail. Pujol, partly to prove the authenticity of his performance (which he could hardly do on the stage of the Moulin Rouge), submitted to a number of elaborate "POR JULY 14, ihc lime when A Parisians give voice with petard and brass-band to whatever dry store of joy is still left in them, a publisher, M. Jean-Jacques Pauvcrt, has very appropriately produced a handsome tribute to one of the most celebrated noise-makers the European stage has ever known M. Joseph Pujol At (he height of his career as star of the Moulin Rouge, Marcel Pagnol in his book "Notes on Laughter" tells us that Joseph Pujol could draw matinee gates worth 20,000 francs, while Sarah Bernhardt the same week only managed 8,000. Eye witnesses claim that he was one of the greatest amusers of all time.

His career spanned more than twenty years. Why then does the name Pujol mean nothing lo us today Because to perpetuate his name it is necessary to describe what he did, and for a couple of generations this simply could not be done in print. (Perhaps it still can't.) Dear me, how styles of entertainment have changed Pujol described himself as Le Petomane." Not to beat about the bush Pujol's talent was that he could fart like nobody else in the world, before, then, or since. He could fart tenderly (le petit pet Umide de la jeune fille) or aggressively (le pet rond du maqon); like a machine gun; or he could produce a deep, slow cannon-roar lasting up to ten seconds. He could give a very good account of a do-ra-me-fa derr'iere-wise, imitate a violin, a bass, or the timbre of a trombone.

Pujol was no scurvy, back-street, perverted farter. He only farted in the very best places, and for considerable sums of money. Eyewitnesses insist on the gravity and impassibility of his performance, and the essential seriousness of this father of ten buxom children. In 1887, the year Mallarme published L'Apres midi d'une Faune," Pujol, aged 30, appeared for the THE NEW BBC ORCHESTRA at the Cheltenham Festival by Gerald Lamer all of them illuminated by the occasional orchestral guffaw. It was tune these cliches were exposed, intentionally or not.

The British work was no joke. It was written by Thomas Rajna in memory of Clanca Davidson and first peiformed (privately) at a memorial concert in 19G2. These Movements for Strings pursue their basic material, a chord and a related melody, seriously and single-mindedly through five continuous sections. The tone is consistently passionate but there is a successfully wide variety of expression Within that basic mood. It is neither strikingly original nor obviously derivative, although it does betray its composer's Hungarian, post-Bartok origin.

More important is its concentrated intensity and the personal feel of the music. The New BBC Orchestra's first pei-formance one had to take on trust. But it showed in La Mer," in George Hurst's dramatic and well ordered interpretation, that it is at least trustworthy. The strings revealed little distinction, but, at least, they remained tidily together in Tippett's Little Music, after a very shaky start. And the whole orchestra was able to reproduce much of the brilliance of the scoring of the Ritual Dances from The Midsummer Marriage." THE Cheltenham Festival Concert, given in the town hall by the New BBC Orchestra (and broadcast on the Third Programme) was hampered by an unwieldy programme.

The second half was devoted to an unimportant selection of music by Sir Michael Tippett and it was conducted by the composer before the interval there was one over-busy hour in which a first public performance and a first performance in this country were heard in succession with some pop Stravinsky at the start and Debussy's "La Mer" at the end. These four works were conducted by George Hurst. The Scherzo a la Russe was presumably included to prove that even the most respectable of contemporary composers, always conscious of style and of his development of it, is capable of a commercial throwback. For if Stravinsky didn't take himself too seriously in 1944, there is no reason why the Polish violinist-composer, Grazyna Baeewicz, should either in 1961 when she wrote her "Night Thoughts." This is a most amusing parody of modernistic conventions a compilation of the cheaper colour effects, the formal devices, the more grotesque kinds of fragmentation, the more common rhythmic peculiarities. I grow old I grow old I shall wear the bottoms of my trousers rolled" picture at Blackpool by Robert Smithies VICTORIA DE LOS ANGELES at the Royal Festival Hall by Hugo Cole POETRY INTERNATIONAL at the Queen Elizabeth Hall the completeness with which they represent the singer's own personality.

Victoria de los Angeles did invent a kindly, less pert than usual character for Rossini's Rosina but it was in de Falla's Seven Popular Songs that she was at last able to commit herself fully to the music: the easy, unforced approach remains. Even the singer's stance expressed a deeper involvement, a voice and music came together in indivisible unity. The London Mozart Players under Harry Blech accompanied faithfully, apparently enjoying their role of great guitar the Spanish songs and giving a performance of Mozart's Linz Symphony that improved steadily as it went on, gaining in freedom. The thick programme found room for 40 pages of advertisements, but not for the two excellent oboists, Neil Black and Celia Nicklin, who opened the programme with a sparkling and elegant performance of Handel's "Arrival of the Queen of Sheba." T7ICTORIA DE LOS ANGELES was perfectly right, of course, in thinking that we had come to the Festival Hall last night to hear her, rather than to gain new insights into the characters of Mozart's Ilia, or the anonymous heroine of Beethoven's Ah Perfido." Instead of going out to discover the character of the music, she sings it as it presents itself as though her main duty lay to each phrase, even to each note. Was this, perhaps, how Melba sang? With detachment, refusing to involve herself too deeply with her own singing as she unselfconsciously displayed the voice in all its marvellous qualities.

It is the voice itself that we respond to even and rich, never forced, used with an instrumental clarity and perfection of intonation. Some sounds have that almost hurtful clarity of high-born notes yet the comparison with any instruments does not hold. The sounds, ravishing and feminine, never lose the immediacy of human utterance, compelling attention by THE BEAR at Sadler's Wells by Edward Greenfield "rpiIE BEAR" is not merely the best, most carefree, work that Walton has composed in two decades, it is one of the surest comic operas that an Englishman has ever written. What so many composers fail to realise is that opera, even more than in straight comedy, the belly-laugh is only an incidental. How often do we laugh out loud at Verdi's "Falstaff or even at the antics of Puccini's Bohemians As a rule not at all, yet operatically speaking they represent an ideal, for the comedy, heavily underlined as it is in terms of the straight stage, exactly suits the heightened actions and conventions of opera.

So with The Bear Walton's shrewdly judged truncation of the original plus Paul Dehn's witty lyrics for a handful of set numbers makes for the right balance, as the first London performance last night at Sadler's Wells made plain. If anything the musical humour is even more detailed than I deduced from the Aldeburgh first performance, and I hope before Jong maybe when EMI's projected record emerges that the composer will give us a full glossary of the parodies involved. by Terry Coleman AST NIGHT'S verse reading at the JLi Queen Elizabeth Hall on the South Bank was a triumph. I know this is not probable, but it is the truth. Really, everything was against it.

Two previous big poetry readings have been weird and not much else. In 1965 a group of beat poets hired the Albert Hall for what Mr Allen Ginsberg called an assemblage of souls," and iti was mostly noisy. Last year the Greater-than-London Fire New Moon Carnival held itself, also at the Albert Hall, and poets1 made sounds like "yaa-huum," and girls ran round the arena, and the manager said he hoped he would never see anything like it again. And when last night's reading was announced even its title, "Poetry International '67," seemed slick, and so did the programme notes. To call Allen Ginsberg the chief prophet of a spiritual revolution which is radically affecting the whole of Western society" is rot, and evident rot.

And to say of Yves Bonnefoy that he is a potential lynch-pin of any Franco-English dialogue is also rot, and ill-written rot. But last evening was good from the start. The Queen Elizabeth Hall is calmer than the Albert Hall, less of an arena. Nobody ran wild. In the foyer a girl with long hair and a short skirt sat quietly reading a book, holding a wine glass between her knees Outside, Shell Spirit 2" sailed down river.

In the auditorium Mr Malcolm Muggeridge told us he was really quite inappropriate, but we ought to count our blessings because we might have had some provincial professor of Eng. Lit. He suggested we should think of him as a country vicar who had arranged a striptease in the church hall to help the building fund. It is Mr Muggeridge's gift to be flippant without being facetious his pleasantries were right, though the tone of the evening was to be reverential. As soon as W.

II. Auden began, the audience, of more than 1,000, was rapt. He explained that it might help us to-know that the odd lines ended in dactyls, and then recited a little piece about his house in Austria, for his friend Louis MacNeice. The applause burst out, Muggeridge walked over and took him by the shoulders, and he gave us another, about the American fleet in Naples. Hans Enzensberger, the young German with a colloquial political conscience, read two or three short pieces, which were also read in translation by Ted and then came the astonishing part of the evening.

Two poets, one writing in Spanish and the other in Italian, and neither of them a young man, so roused us that we yelled hurrah. This is strange. Pablo Neruda was born in Chile. He was 63 yesterday. His collected works run to 1,923 pages.

Last night his poems were read first in translation, but what mattered was his own reading, in passionate and singing Spanish And then Giuseppe Ungaretti's poetry was read, first in English by Allen Ginsberg in his prophet's voice, and then by the poet in his own language, with great intensity. William Empson read what he said Dylan Thomas considered his (Empson's) only poem, which was about drink and politics and impossible, alas, to follow. Enzensberger came back again, and then, with more to come, I had to leave to write this piece. Last night Ginsberg was not expected. He came along not to read anything of his own but to help read the translations.

He is the beat poet, and when the poets were first introduced last night he of course got the big cheer. But once things got going the greatest enthusiasm, and the cheers, were not for him at all, and not for the young German either, but for Auden and Neruda and Ungaretti. The English Opera Group was fielding the same cast as at Aldeburgh Monica Sinclair, a winningly formidable widow, John Shaw in his element as Smirnov, the hectoring bear," Norman Lumsden vividly cantankerous in the incidental part of Luka, the servant. After Jubilee Hall the acoustics of Sadler's Wells seemed for once comparatively spacious, and the brilliance of Walton's orchestration a chamber group given the richness and bloom of a full orchestra was brought out the more strikingly. There was gain too in the other half of the double bill In the sense that next to nothing happens and that very slowly indeed, Lennox Berkeley's Castaway remains a non-opera, but with all the original performers now much more confident than they were (to the extent that some ten minutes has been clipped off the total time) the delicate pathos of" Nausicaa's forlorn attempt to win Odysseus is now conveyed imaginatively and the musical solidity of the structure is never in doubt.

As before first-rate singing from Geoffrey Chard as Odysseus and Patricia Clark as Nausicaa. THEATRES LONDON THEATRES MANCHESTER CINEMAS LONDON OPERA AND BALLET ADLLJ'IH. licui U) LvLniii JO, Manchester Ol'tllA BLA K5f. liieaAre sais jy una bjw, ijiujh JOL UUtAV ANSA NLAGLE, II HAZKLL ERLK NlfclMtJ OLIVER! ABC ARUWICK tiftLfcN, ARD I HI PESTOLLItO OF Itf RIVER I A) 1J6 5 15, 50 Three Pitta of Apple. 3 0 60 lVlMMmt'b.

ITem 30M Es. a Sat. 5 5 30. Wed 3 Ehiatwth sellars. Michael Goush Andrew Cri toid Betiy Mtrsden id THE PRIME OF MISS JEAN BRODIE A refourtdlrtir wholesale triumph of the sort for Observer CHARLIE GIRL OIAHth.

(Ger 16U2 b-i 3 15, Wed ZW, Saturday ,0 and 10 Ccrala Tlood, Belinda carrot William rrnklrj THERE'S A GIRL IN MY SOUP Smash Hit Comedy bv Terence Frifby "bptendtd entertainment Kp NOW IN ITS SSCOVD EAR 1 ior alterations Box Oittce now open ior OLACh AM) TYIUTK MINSTREL hllOW. Tues Dec ly twice nlKhlly and 45 for c-ks lay-. 126 76, 4C Nottingham NOTTINGHAM PLAYIIOUK Tel, 45671 Eentnjjs 7 30. a turds'. ni ARTS ItSTHL Tonight F-ida, vuurdiv THE 1AN IN 1IIK C.LVsS ROOm Snday 3 0 rr.

and SO pm JAZZ I ROM RONNIE SCOTT'S CLUB Mmnct jeais oniv no Furtlicr details from Rok Oftlce MoodDf lo July 22 (last ncrfs A MlOsirvrUMt MGIIl'5 DREAM MVIU1 A BALL WHAT FUM GO AXD SEE BARRY HUMPHRIES AS FAGJN A REALLY BRILLIANT COMIC PERFORMANCE 'h Express OW A ONLY 66 to 20 QUtfN's (Rcc tl(W at 0 Mat Thursdays 2 3D Saturda- f.O aud 8 30 Vlcur Ken Witrc THE ODD COUPLE Ttit Funniest plav In Loitdoa Exp LIBRARY THFATRF CEN 7406. lUn.lt July EvenlnRi 7 in bAturday m. Matinee WcdncwJn. 2 m. HOW'S 7111 WORM) 1 1tFATJNG lOTJT by Roscr Mitlner July 18 fifllH) QUIFF' by tlccvrv Living! IMWTPID TllKAllW CLUB.

01-732-9301 COL.VTKY it WCt, JimM KconiwaT -H 815 UVlllHKliT THEITRC (WhJ 9S32). Evg 75 sat 3 0, Ma.s Wed. 20 Lait weeks of Sheridan's Comedy THE RIVALS R.ttpli Fttcliardsoji outiianding Mir CO EST GKiEN OPEKA. Tonltht Men, Wed next Julj 21 7 Don GioTanai. Sat 7 30 list perfonnince of LA FILLE DU REGIMENT with Joao Sutherland.

Luciano PavarolU Cond Ricliard Bonynse Seats available fTcept ton is in Cov 10S6 ClUENT THE ROYAL BALLET" Frl 7 30 L-idj nd Hie Fool. Hotaie of nird. Rajnonda Act 3. Sit at 215 The Kmni Dallel School rerformajvrf Tuea. next 7 20 Mtiu Lake Scats atailabi- GI.1NDIBOLUM.

STIVAL OPERA. Lniil luu 31 Toda--. Saturday, nd Monday biy L'Ormmdo Tomorre at SO. Sjndi tt lUtn Few ticlccts available Moodajr and liter performancea. Ovasif na elurned tickets only other performances L'Ormlndo and Don Giotanm With itit fndtni rhllharmonlc Orchestra.

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.1 7 JO 1 AHIIAsbiAmm iTem 1111) Eavs 3 Mn1s Tues 2 te Sat 5 tL a Agatha Christie THE MOUSETRAP Fl ENTH UNASHAMED VEAR I ROVAIj COVaT, Slo IT431 Eviln5 al 7.J0 FT Sat GO and 9 0 rut IlFitTliRATtO OF AUN'OLD MII1ULHON by David Storey "A great iia I'ltiancial Times, Run euuided untllJuH 22 LMVERS1TV Till ATHL AFtD Evenings at 7 30 UMMLU COMP1NV 6' A Convert i Alan A) ckbou rr. Mr HflAT.NOl HLIt MAJESTY'S, (Wht 0W6 1 Evs 7 30 Mattuee. Wed auo but al 2 3d t. in (He world's most acciaimcd niufi.aJ FIDDLER ON THE ROOF mllh Mlriiiiii Kan in Directed au) Choi wrra ultcd tv jprome Robbins A inumuh cuuig fitjndard Sheffield SUOV. (Tern vVii) Egs SO Sat 5 and 8 LONDON CLUBS wml am nicrvMi in rcnorrcs ujusaiLiu AREN'T WE ALL A Ct rLAYIinUbF.

Slirflirld Evenines 7 TO Saiurdav A 7.30 The. Siher Jinx Cilsivc-rth JvW IH tn Ut Nine O'ltn LHMUNHO ROS C1AIR Tor Dinner and Dimclnc in cabare- at 11 ni 1 KEN WOOD LES GIROS Res 767S hUL, MUS 3731 1 llmrs Fri feal 2vQ A 7 Ml Albeit Camus sTTE 01- MttiE MlAlThsniJRl. ITem iW Over pcrfe a 15. Frl ncl Sut 6 1 and 845 Edwards Cattle 1a niO IJAD MOtoL Brokltie until Fcbruar. 1963 HMarli'iii knrkaboui Fin Tunes LVRIC, (Cer ir, Evtnirifi-i at 0 Sat 30 A.

Hi Mat Thur 20 HAFtGARET LLICHTON TONY BH1TTON CACTUS FLOWER LONDON'S GAYRST COMEDY HIT ILMOhr, Oxford btftU LtMrjl IZ22 LAST FLW WEEKS Weekdays arid Sundays, 30 and 7 15, Julie Andrews, Cluisiopher Flummcr, THE SOUND OF MUSIC iU TODD-AO DE LUXE COLOUR tU) Seati UfG 101.. a-. 65 (Bookable). Reduced PTlcei Children and OAPs. MnnHn tn Prfrljv Matinees Only SMJLVR's WFLLb 01-S37 Until Jul 22 Fenlnej at 7 30 ENGLISH OPERA GROUP Tonlcht Tuca Midsummer Mfht.

Ilrfam. Frl Th Bear. Sjit Wed Tu! 21 Tle nernr's Opera net A Julv 22 cl A G.Utea, BJ-LJ VUI- Hi I'iMtK Daily 10 a in aouaiuum nrPTiiiUM. Sea Won PtrtoniidiHCi Chimps Tf i Parly. HLGE IT.

PAIR DANCING in the New EilrabcUnn Ballroom TOP TEN CI UD iMcmWsj Sunday 7 ni TTvN-PrN DOWUNC. DA1LV 10 am Sat 7 pm SPEEDWAY flit 7 pm CCAFPLFTE BANQUI TP-f! SETtVICTi FidUtlcs tur or mnl Dinne- Dancti. Pirtiea, Ret options. Conference. Theatre Dinners.

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5 30, 8 0 STKWU i Tld 00) to Fil 7 43 Hats THiir, TO aits 5 15 and 8 10 Ian Caimln'iaci Alec Dutiw Rolin'M CiiKir fli-crd HLintrcy Divld HuHilifwn Esmond Knlkht Moira LUlor 1'crlltn Neibon MicuiR. Ralini Connie niicrs In nTtNARD GETTING MARRIED DirttHid bv FrauK Dun tun COMHY. W1I1 237S OTMItia July 20 7 30 Subs BO Joe Mella Zena Walker A DAY IN THE DEATH OF JOE EGG A nav, plityi hy P-le- NKW iTein Evfia at a Mits Tues al 3 Sjis 5 and 8 15 Robert Hardy tn lirqulJirls hilarious comedy Hlh CONSTANT rne Kudicnce loved all A winner" manciai limes Chesterfield CIVIC TUEATTtr, CfiMterfleld TL 2M1 Mori, to Tli uts at 7 30 Frl ftl 7 PJD. SaUir'iaya at 5 and p.m. Tuesday fiexi For Two Weeka SAY WHO TOW ABE By Ketth Waterhouse Willis Hall Matinee saturany jo umas jui LONDON CINEMAS LONDON GALLERIES A c'lmrius uail Tetcsraph OIHON.

Oxford Street CZS 541 ffxti Professorial A) 2 25 i 20. S20. Look at Life (TJ1 1 30 4 25. 7 25 A ii-unmi i inv i imes LKimilON. iWhl 3JIO Eip 15.

Tluns Sat Se 15 Luudoi) s. blcgest 1ouj.li News of Llic Wurld Michael BolCi 'e loot RFX. W1LMSLOW. hllABTOHW" (Ul Chichester THE MAN IN THE GLASS BOOTH OLII IC TFLC NATTON'AL THEATRE Tndny flt 2 13 and 7 31 MUCH ADO ABOUT NOTHING -'0 IjNio In Lmr 1 13 itid 7 Tlirre Mslpr Inc. Wed nest 7 10 lu Her Ur sca.

aail-ableltidl Wri nest ai 7iilfi Oft Altt, Itrsnt's I'arlt. 4So-tt3 Fvs H't Mut Th iltt I 10 Djtfid llnct in Cltt A v. niui.nttc cmcmiSThrt plsiival tiilxtbk. itci Trdav al 2 0 July i and II ft 7 TUfc KAimt-IlS IVftL lonlfrht and July 20 at 7 0 Jui 7 UK ftPALV STKATAfiMI July IH film Pcrf I at 70 July 20 at 20 III All Nlltr AK MOUVh bl'LPlO 1. Oxford Bnad hft 2137 From the mafceri nt Mrmtfrj Cane AFRICA ADDfO CX Weekdays at 1 IP 1 5 to 10 2.

Oxford Ilnad ZK1 Ariel'' Dlcki nsrwt G1f in Ford 1'islnlr-ro nf Itrd Rnr 4 A) Wrvrta i at 2 5 25, ft 45 Da id MrCallutn Syhla Kti a. lliree Bitot of thp Aiplc fA trail H2U ill a 0 Ihn Wi-d jt 30 Ka's 5 J(l A JO 'The bf si tlinller tor BARBAHA MUHKAV II WAIT' UNTIL DARK UM1U i Tern 74m fcvemniss 7 6 Malltttcs Tluns ntLd AS YOU LIKE IT hy WEL' .1 A Kl 1 A FStT A Ondlcs of niaasc or fumiv I lo.ed It a rldiin p-oductlon 1 ctijood everv nionieut of it brMLniil production absc'utolT Keswick vcKdtyfr ft- ji ana (Ger fiSJU 7 3D 5 10 80 Wed 2 45 John Han sou DlniT Rare delight Exi "A til NVrf! COLNAGIH 11 Old Rind Sired. London. II A Loan Exhibition of I-us'Mi from the WhlCAurin Arl Cillery In aid of the the WimworUi Daily 10 a to "i 3 SiiurdJjs t.ltiivvi-Ndlt l.VLLHIY. JO Daxlci Pirwt.

lMidim MVJHOijA IJNDOrJ KEW WOPTS BY GA1 I ERY i isi in Mimrrja in 1 LFKhMrlt pU-lhltlfS, AntiM1- Siiiitc So.iln Ancllrv SI 1 JOHN TlfSNARn PahiUn." nn1 Cfluatlma ANNE MADOKN PilnHns." aini ulplure hi I MMCiORIl- I'Altlt GALLIUMS POTTETIY WALL HANINCS AND PAINTINGS 2Vi KiugJtRd Chebca, SW nKit njjdaib3t MARLUOItOUGH UNb Altl LTU 39 Old Street, 1onriaii, 1 NEW ACQUISITIONS Bicon KltaJ Kokosclika "Thimei Nolrtf Sutherland etc 1 New Bronz tv Moore Adra free Dallr 10-5 Sals W-2 MAttLnOKOUGH MiW IJDNOON' GALLt RY, 17IK Old Hand Street, London, I. Henry Moore Carvings Inrludlrts tevm nciv Querela Mirblr- In Aid of Italian Art and Archive rumc Fund Adm 2Mi Smlenl5 V- Dilly in-' Suts 1Q-12 until AuRust -K TATTOV. Raller. GATley 2H3. H- 7 45 Peler Seller (Mat Sit 2pm) OIMNO ROTALE iU nt 30 8 25 UIUJIIY l.M; ITtm me i 1 JO.

Wed 2. JO. Sal 10, a 15 2ud Year Smislt liii Musical DORA BRYAN in HELLO DOLLY riut hjk CTlllCS PAUntUM. (Ccr 73TJ 1 Twice nl.hLiy 6,15 aud 8 43 Matinees Sal 2 40 KEN DODD CLYTLKY TJIFATKK Hoads Lane Botrk at Moot Hall. Keswick Evenings at 15 Until Juty 15 Importance ot Being Eornrtt July 17 and IS Who's Afraid of Virginia.

Wooir July 19 and 20 The JtHals July 21 and 22 Wilting far Gfidnt II u. St in Mrrecamte and V-kc in 7IH MlGMI'ltLNT 1WO IU. Colour Provrammes Lonim at I 15. 3 3D 53 JO i iiurdav laie nffiht sho at HO LONDON PWIL10N Ger S2 L'c. Br mi ukt (Ai Cclonr Proc? tl t5 2 10 t15 SS Late Show Sal 11 Ml ritoroi.t One ot the Serein's Grwiteii Inumphs Onr Cooper.

Insrld. Beritmn. lu IUR WHOM nih RbLL TOLIS (A I Tech Svp per t- 2 JO 8 0 San 430 8 0. UcioJ.altl- 1C 0205. 5CD.

4oT3 OIH-ON (I market IWhl 273S Piul WW FOR ALL StONS Ul. O'vars Including Best Film Sep PltIj 2 30 5 4 8 45. Suad5 4 10. Lte nlcht show Sit 11 15 OPtON. Ilc sq.

Sean Conncn Jimea Bond in OLI ONLY llt TWICE Al Teclinkolor Press 10 5 40. 8J0 Frl. nnd Sai lale nlEht show 11 0 tOIH tN Marble rch. Pad, 2011 Burt Lanes! cr, Lee Minln. Claudia Cirdlni'f.

IHF IMIOFEmnNAKS (Al Sep perK Bkble i0 A 30 SO Sun 4 30 SO 5 Late Nish Show It 13 Lleenfed Bar. I'ltis-n I LMN. D-ntmi CIdns (Frc TIIF OOSl'IL ArCOHOING TO iN MTTHKIV lUl Show tnjl At 3 15. 5 45. IS Tl BMJTKiOT IN 1 HE FRK fAt Robert Redfnrd Jane Fondt.

Charle NaiwirU Prcg- 10 3 js. )39 S20 Stl 11 Dm Sun 3 0 5 30 SO I'ltlM'L tllYRLI's. Frcun the Maker r.f MotHo Cne rmr ddio (Xj Teci Proe 1 2tv 1 40. t. RfT rrrer tr4 1 miinionvs ninw-II' (Xi at 12 0 'J 10 1" 45 9 0 UtP ShrfH.

md Saturday 1 15 STt'DIO ONE, 0fnrt! Cirrus End Tortjr i I LI lUl Prc '2 25 30 540AJ20 Tci'iuii-O'ft lark Thr UmiiI Mllfr lAk Teoh "Hello Drira yrw'rc suti 3 doll HIKVTUB UOVAL CINTItAMA BLA ttlSC Wctkdaf and Sundas nt 2-30 Se 7 15 Sieve McQupon Rk-hird Attenhorouch TIIF, SAV1) PFrtRLfN A) PanaviKlon and Colour bj De f.uxc 126 106 H7fi fifi All hnoknijle immiuI in Tlir- LStllo Then re A ft2w Cover btreet. L.muI.hi WC 1 Totilzht 7,30 Ju! 14 and and 7 30 Juiv ir. at 5 0 nnd 6 13 it-JFW'T MIMiUUVS HANC'K bv Jnliu Arden Tlckpi; free to mrmhers ilf ui-flhlci on artp.miion to the bov nflice Til ACMHMV 0h (Cer James Joyces iAsis i iLondc-m directtxl bv Strlrk 27M 30 M.1U All e.it; bookab Ul)In TWO Ger last 7 Di Li licrmi'p ntrni(iu Xi TO 'iM SO rlll MY THRM (Ger SSIQI IIHIlTlLf sni.nn it ixs i 1. 15 Asnmt. Vhr KU iGer 1 1 Rudsers llJ.n.hei'.titii Mil IH IMIII" -i hi iPdJ-AO and Tfini folnr Al JU 5 0 StniilAv ri0 0 All bcKablc CMFI Ov lir.

iIjiii 171 1 Mli LHM- AMI I I XI Cut Gi-aali XI I I-Mill l-SI I'XIi H-MMl il Cltl.TO (Wht A Nc Fllnl Adventure IN I.IKE TI.INT At Cui Pnc-. 1 i. 3 25 nO i 11 C-OMt riNFRAM, I Ger (Lie, Bnr.l l'1tl A at i niit 7 -15 Pita 2 0. CO 8 AO, and 2 niMu'c'u Sundjjs at 3m 4iutl 7 SO A'l no) able COMft'M riNFIHM i 1cm Tlfil I THE OI'M. GIUI Ol' nOCIIlhOHT (til Dilh Tt 10 SO At 2 0 5 15 S3rt nnd 11 '0 Suns nt 4 10 A 7 30 COI.I'MUI ilis 4'4 I T3M1 nicliird Duel ii TIIF TIMING OF THK MlltUt' Tcc-li Sopnra'e i rfonnnni-e itixiuarjip 3u ii sir.

ji u-ju "0 i 10 and ni Suniltr. 4 CI rGro I I nt- llimmif el nr Pein me IXi Osc.nr tacit fn'cn film I II ifl 10 a net 11 IIOMIMON I ult. (t Kd. (Mas 270il 1'ille Andrew i ChnMPplitT PI runner 'n RnJjipr'. md HamTPr-tcln's Till MH'Ml Or Ml sic HH t'i Todd-AO and Pep 1-urfs 2 30 SO Sun 4 11 CI All ok.il.ile I MriKF iGer 12J4 I DOPTO R71HVAGO (Al.

2 So ard 7 10 Iji" nrf 1(1 Snn 3 7 60 All rkbie Lie bar JACFT FILM THFVTRr. Mirt Arch rMa-r MTTIOEM (A) n-rinc Dirk Bnvrrfe S1anlp Bakfl rrokramiiif 10, 3 25 5 50 3 Ut'KE Of lOUK'S iTem D122I fRt SiLs at 10 4j Man Tliurj nt to CfLIA JOHNMN Mil HAEI. HORICRN RICHARD IJItlERP JTSNIFEH HllAltY RELATIVELY SPEAKING- Fun douii to the ht rintp "Times liv Ajpkunnni Dircchil tv KICKL PATftlCK Vif 131T MfiliU' DINING OUT fill and 3 TV i Fii'tc-t nuhr tiif RLxrh a white minsthh. iiou Vird-lrt T' (i-d-liiatsm? miisical Nm dt)i nit Unrvlt In a util il JaniLi i f-iV. Loughborough STAsrOKB 1IWL rm-ATJU-, LnnshnornuRli Open he fin in Nrxt Kvpnln's tl 7 iimon Una 0mr my In it- iinip nir riitM.t: All i 7 llr-kcl.

C-ildrclK 11 Wrardi frnd Lou borons Free Cur Pa--k npMiTttts Ojmi lo nipatrefffrer Wl IINsll (t tl Tl tai-bsMMtfc at- ran kam Cast jftntdShire 'load Swiotou 1-VFRY SAnrillJAV OfSIVl AM) NANTIM) No extra dump? fnr rjancln ftpMTvallon-i SWlnton inn Olnnfi ervrt 'rnn 7 i mlhtjlj rim 1 ix Tom wsii.i Com Tomf-ht at 7 30 tubs 8 Wen 2 30 SaU VANESSA I-FE REN50N VcTTR craws. AGF 1MfCMT.lIsl GILLIAN LIN'U PDHN MER AW In Frtdcrli onnlak's r.mnjiK cuniedy THE LAST OF MRS CHEYNEY Fi.r Unii led seisHjii car p.irk br.nk.TOV, riiiNa op i wtii sesi i Era 8 0 Wcdncfdiy atid Saturday I 10. FHANKIIi CIL1JI HOWERD BLACK WAt OUT IN I'lCCADIU-T fllCSfa ACCLAIM ijMASH Hll'l INDIA ARISE cist of eft rtlllTrvi (lem Ji1)i. SJN lrh sdO JUD' IAN DTJ VAN DENC1I MfKFU.FN HUM THE PROMISE "So irootl, to tnte, and nimj Hobooni. Siindsv Tinier A prltlvr1 dr-llclit Obervf Twn -fl 13 f-M ROYAL ACADEMY iLVMHt I 11IH11I0N in-ft Sllr dni JnHI July 30 And rN'ftlomoN OT' SOVIET PAINT1NCS FOP SAI ljl-' 30..

Sun 20 Adni 3 fi VK'lolt U'AIHMN(TON Ml' 5itlssi Adlrr Lhrtle D.illv 10-Q Sat 1 roik SlrT. I ftitdon I ION r.AIJ.IItll-s Ork Slrret, 1. AVI.RY DUnUPFFT. HITCH EN'S HA THEN, HUNK. WALLIS, Dllly 10-G aaturdaja 10-1 rum i wed and Sdi tO 8 "ill Nim l-i lit tmntt Year "The Funniest Mtt-sknl in Yrnrs" Slnrrlw; IMNN'Y I A RttE and GARm MHIER Willi Jit NT- THjNT nnd Al AN rt'RriK In COME SPY WITH ME MUST LEAVE HERE 2fnd JULY ill! AM uniic in 1,1111,111 i-i iininm WANTED rtrcMteln.

htelrm.iT, anrt ftluthnri PIANOS FORSYTH BROS. LTD. 130 DEANSGATE. MANCHESTER 3 Newcastle upon Tyne NMVCASTIJ l'LM irOIJS. Tel ltU2l.

EtenlnKS 7 30 S-it 5 pm and a pm rriiLii July 22 A Itaiew In Top Cew 11 lt Ev This Week lAM iKNl-t. FrMik -(n-iirj In TBK no Vvl It NNI It rt 1 i Tress. IJt 1 in A I hl.KITINO IV! ME.